4 months ago



the nature of essence by Massimo Scaringella «The mystery of artistic creation is the same as that of birth. A woman who loves may desire to become a mother; but the desire by itself, however intense, cannot suffice. One fine day she will find herself a mother without having any precise intimation when it began. In the same way an artist imbibes very many germs of life and can never say how and why, at a certain moment, one of these vital germs inserts itself into his fantasy, there to become a living creature on a plane of life superior to the changeable existence of every day». Six characters in search of an author Luigi Pirandello As Pirandello suggests, artists have always had the right to live, build or create according to their personal story and/or imagination or to their often ascertained duality. Their legitimization derives from always being free spirits for whom the basis of aesthetic survival is a “research” and not a practical result. It’s for this reason that artists who conceive, risk and assume this reality, (at times physical) couldn’t care less about the passing of time. But generally speaking, they demand for their works of art an impact of success, emotion and intimacy that puts all those who come into contact with their works, both personally or via other means of diffusion, in a metaphoric or analogical symbiosis of dialogue. A picture, a painting or any substantial creative production is not an object to look at, but something with which one can see. In fact, aesthetics by nature tends to explore the possible ways of constructing and establishing human relations and relations between ideas in new terms. Art represents an expression of the rebellion of human thought, transforming the artist into a researcher of form. And the form is structure, meaning that it represents what can be transformed into something that apparently lives in a restrictive cage, but basically always has a rebellious soul. Even the most colorful and open work of art manages to define and limit its themes, feelings and various passions, frustrating innovation and constant genesis of its creative poetry, its open language. But in reality the true work of an artist covers minimal variations, almost imperceptible, a sort of conceptual in-depth study that increasingly leads towards the essentiality of things. And that is why what has been represented deserves great attention because of its reasons and its being. Of course, a work of art is almost invariably a container of forces and tensions that can only be calmed thanks to the open contact of those who observe the artist’s enchantment and restlessness. Each mechanism of the articulated creative structure builds, through the differences of materials and color, a strong evocative and emotional association that allows us to go beyond the image of the work itself. This is the structure that the artist develops and this form lives both objectively and theoretically and opens up to the viewer with the fascination of a balanced world of an art that is at the same time emotion and archetypal desire. If one manages to enter the different mechanisms within which the work of art operates, a new method of thinking is acquired, which, beyond the external cognitive perception in 17

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